St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1887-09-18

ter or that of Viola
ADELAIDE NELSON in "Twelfth Night"
in both of which she seemed to possess
the attractions of an AdOnis, with the
tender graces of a childlike youth.
Thus all groSSneSS which might cling to
other actresses in male attire fell from
her as If repealed by her spiritual car
riage and beautiful voice. Her coquetry
might, it is true, have betrayed her sex
but for her skillfui assumption of ten
der manhood. Altogether it was de-
nghtful, portraiture. How sadly the
words she uttered to her lover return to
the memory, now she has gone.
Ay. go thy ways-go thy ways. 'Tis but one
Cast away; and so. come death.''
Madge Robertson (Mrs. KendalD,
whose coming to this country has been
so often announced, made a particular
~ strong effort to create an excitement
6y her performance of ROsalind at the
st. James theater, London, not long
cent production ever INDUCED in, but
unfortunately the whole play was
nearly buried by the realism of
the. Forest of Arden. Mrs. Ken
dali failed most signally in satisfy
ing any of her friends, and the honors
OF the performance were carried off by
our countryw0man, Miss Linda Dietz,
who played Celia-a fact without par
allel upon the stage, where, no matter
how well Rosalind's cousin is played,
she carries what is theatrically called
an ''up-hill part Mrs. Kendall is
good actress for all that. and her Ga
latea was once the admiration of Lon
don. She should not have attempted
OrlandO's Gannmede when she could no
longer look it. When will ladies upon
10 OF 10 No
riod for the laying aside of juvenile
leading business and the assumption of
parts more worthy their maturer
looks and ripe talents? That question
has been put by others, but it has not
yet been definitely answered.
Just think of what is needed properly
to play 1.-The heavenly ROsalind" She
who personateS it must possess arch
ness, c0quetry, wit, mOdeSty and ten
derness. This lovely creature, who, in
the dreams of fair women, stands out
alone, must possess all this and more.
The scenes. apart from Orlando, differ
as night from day, therefore she must
possess variety of power, because the
scenes with Celia and those with Syl-
viOus and Phoebe. have such totally
different motive from each other. and
from the love passages with her lover.
With him she must sparkle with vivac-
ity and tremble with apprehension.
She must reign over the Arden forest
with as much power as the eXiled duke,
and over the hearts of her audience
more despotically than any duke. The
philosophy of the play, beautiful as il
is, will always yield to the loves of
Rosalind and Orlando in the public
mind. Let cold critics preach about it
as they may, that is the charm and
beauty of the theme, and will ever so
remain.
Withal there must be no prudery in
the reditiOn, and not trace of it in the
costume. No scraps of lace, no woman's
frippery, and, above all, no ankle-deep
skirts must be placed Oh Rosalind. She
must walk the woods conscious that her
purpose, although not guileless, is free
from aught that Savors of immedesty.
Any actress who does not like to don
mans attire and wear it like man can
not play RaSalind without drawing
down upon her the censure of intelIi-
| gent people. / speak of this because
there have been ambitious ladies who
| fooliShly have not taken in mind the
| fact that true art is above the ordinary
follieS of conventional life, and to those
who would be great evil does not exist
when the end to be attained is worthy
of every noble effort.
A very sad Rosalind was that wit.
messed on May II, 1857. when Peg Wof.
fingtOn made her last appearance in
public. In the epilogue, when she ar
rived at eff | were among you | would
kiss as many as had boards that pleased
me-" her voice broke, she faltered, en-
deavOred to groan, but could not; then
in a voice of tremor, screamed ooh
God!' tottered Off the stage, was carried
| home, and never again appeared upon
| the mimic scene.